[Met Performance] CID:9560



Die Walk?re
Metropolitan Opera House, Fri, February 6, 1891

Debut : Adeline Epstein, Anna Fields, Selma K?rt-Kronold, Bella Bauman, Anna Mantel




Die Walk?re (43)
Richard Wagner | Richard Wagner
Br?nnhilde
Antonia Mielke

Siegmund
Heinrich Gudehus

Sieglinde
Marie Jahn

Wotan
Emil Fischer

Fricka/Siegrune
Marie Ritter-G?tze

Hunding
Conrad Behrens

Gerhilde
Adeline Epstein [Debut]

Grimgerde
Anna Fields [Debut]

Helmwige
Selma K?rt-Kronold [Debut]

Ortlinde
Bella Bauman [Debut]

Rossweisse
Anna Mantel [Debut]

Schwertleite
Lena G?ttich

Waltraute
Charlotte Huhn


Conductor
Anton Seidl


Director
Theodore Habelmann

Set Designer
Josef Hoffmann

Set Designer
William Schaeffer

Set Designer
Gaspar Maeder

Costume Designer
Carl Doepler

Costume Designer
Henry Dazian





Die Walk?re received four performances this season.
At the time of her debut K?rt-Kronold was listed in company programs as Selma K?rt.

Review 1:

Review in The New York Times

METROPOLITAN OPERA HOUSE.

It may be recollected that at the beginning of the season THE TIMES expressed the opinion that Edmund C. Stanton had got together for the present season, at the Metropolitan Opera House, one of the best all-around companies ever assembled here for German opera. Last night's performance was one of the finest demonstrations yet given of the justice of this opinion. It is not too much to say that, taking it all in all, it was the finest performance of "Die Walk?re" ever given in this city. It was splendid in its dramatic forcefulness, beautiful in its picturesqueness of aspect, and unequaled in its vocal excellence. We have had occasion to find fault frequently this season, but last night's performance was of a nature to disarm criticism, to drive cold reason behind the barriers of emotion, and convince the hearer that there are times when all things work together for the good of them that love genuine "dramma per musica."

Individual excellence was not especially prominent because there was so much of it. It began with the entrance of Herr Gudehus in the first act and continued till Herr Fischer made his exit at the close of the last scene. Gudehus is vocally by far the best Siegmund we have had, and his acting is thoroughly good, though not so noble as that of the wonderful old Niemann. But the latter could not sing, while Gudehus sang every measure finely, making the famous love song buoyant and bold, as the composer intended it to be.

Frau Mielke's Br?nnhilde was a lovely performance, rounded and thoughtful in conception, direct and eloquent in execution. She sang admirably, her Valkyr's cry at the [beginning] of the second act electrifying the audience, and her subsequent work being charged with dignity and beauty. Frau Ritter-G?tze's Fricka was superb. It was out and out the best interpretation of the r?le both vocally and dramatically ever seen here.

Fr?ulein Jahn was a satisfactory Sieglinde. She sang the music smoothly and commendably, and acted in a womanly manner. It is not necessary at this late day to commend Fischer's Wotan, but last night the popular basso struck a deeper note of passion and power than even he usually does, and his action was uncommonly full of significance. The Hunding of Behrens is the best thing that singer does, and last evening it was up to its mark. The choir of Valkyres was satisfactory, and the orchestra played like a band of virtuosi. Anton Seidl conducted.

The enthusiasm of the audience was aroused at the outset by the beautiful treatment of the great love duet at the hands of Gudehus and Fr?ulein Jahn, and the tenor's forcible declamation at the close of the scene brought the curtain down with a grand outburst of applause. The three artists who appeared in the first act were called out five times, and the applause did not cease until the conductor came forward to acknowledge the kindness of the auditors. The enthusiasm at the termination of the second act was of a similar kind and might have been even greater had not a slight mishap with one of the cloud drops marred the effect of the climax.



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